Should Old Acquaintance be forgot,and never thought upon;The flames of Love extinguished,and fully past and gone:Is thy sweet Heart now grown so cold,that loving Breast of thine;That thou canst never once reflecton Old long syne.

CHORUS: On Old long syne my Jo,in Old long syne,That thou canst never once reflect,on Old long syne.

aŋ s∂in]: note "s" rather than "z")[1] is a Scots poem written by Robert Burns in 1788[2][3] and set to the tune of a traditional folk song (Roud # 6294). It is well known in many English-speaking (and other) countries and is often sung to celebrate the start of the New Year at the stroke of midnight. By extension, its use has also become common at funerals, graduations, and as a farewell or ending to other occasions.

The song's Scots title may be translated into English literally as "old long since", or more idiomatically, "long long ago",[4] "days gone by" or "old times". Consequently "For auld lang syne", as it appears in the first line of the chorus, is loosely translated as "for (the sake of) old times".

The phrase "Auld Lang Syne" is also used in similar poems by Robert Ayton (1570–1638), Allan Ramsay (1686–1757), and James Watson (1711) as well as older folk songs predating Burns.[5] Matthew Fitt uses the phrase "In the days of auld lang syne" as the equivalent of "Once upon a time..." in his retelling of fairy tales in the Scots language.

HistoryRobert Burns sent a copy of the original song to the Scots Musical Museum with the remark, “The following song, an old song, of the olden times, and which has never been in print, nor even in manuscript until I took it down from an old man".[6] Some of the lyrics were indeed "collected" rather than composed by the poet; the ballad "Old Long Syne" printed in 1711 by James Watson shows considerable similarity in the first verse and the chorus to Burns' later poem,[5] and is almost certainly derived from the same "old song". It is a fair supposition to attribute the rest of the poem to Burns himself.[6]

There is some doubt as to whether the melody used today is the same one Burns originally intended, but it is widely used in Scotland and in the rest of the world.[7][3]

In 1855, different words were written for the Auld Lang Syne tune by Albert Laighton and titled, "Song of the Old Folks." This song was included in the tunebook, Father Kemp's Old Folks Concert Tunes published in Boston, Massachusetts in 1860. [8]

1. God save our gracious Queen, ---------------------------- Should Old Acquaintance be forgotLong live our noble Queen, ----------------------------------- and never thought uponGod save the Queen! ----------------------------------------- The flames of Love extinguishedSend her victorious, ------------------------------------------ and fully past and goneHappy and glorious, ------------------------------------------ Is thy sweet Heart now grown so coldLong to reign over us; ---------------------------------------- that loving Breast of thineGod save the Queen! ----------------------------------------- That thou canst never once reflect2. O Lord our God arise, -------------------------------------- on Old long syneScatter her enemies ------------------------------------------ On Old long syne my JoAnd make them fall; ------------------------------------------ in Old long syneConfound their politics, --------------------------------------- That thou canst never once reflectFrustrate their knavish tricks, (/P/Ch*) --------------------- on Old long syneOn Thee our hopes we fix, ----------------------------------- My Heart is ravisht with delightGod save us all! ----------------------------------------------- when thee I think upon3. Thy choicest gifts in store --------------------------------- All Grief and Sorrow takes the flightOn her be pleased to pour; ---------------------------------- and speedily is goneLong may she reign; ----------------------------------------- The bright resemblance of thy FaceMay she defend our laws, ------------------------------------ so fills this, Heart of mineAnd ever give us cause -------------------------------------- That Force nor Fate can me displeaseTo sing with heart and voice, -------------------------------- for Old long syneGod save the Queen! (/S/Ch*) ------------------------------ On Old long syne my Jo4. Not in this land alone, ------------------------------------- in Old long syneBut be God's mercies known, -------------------------------- That thou canst never once reflectFrom shore to shore! ----------------------------------------- on Old long syneLord make the nations see, --------------------------------- Since thoughts of thee doth banish griefThat men should brothers be, ------------------------------ when from thee I am goneAnd form one family, ---------------------------------------- will not thy presence yield reliefThe wide world over. ---------------------------------------- to this sad Heart of mine5. From every latent foe, ----------------------------------- Why doth thy presence me defeatFrom the assassins blow, ----------------------------------- with excellence divineGod save the Queen! --------------------------------------- Especially when I reflectO'er her thine arm extend, --------------------------------- on Old long syneFor Britain's sake defend, (/C2/Ch*) ---------------------- On Old long syne my JoOur mother, prince, and friend, ----------------------------- in Old long syneGod save the Queen! --------------------------------------- That thou canst never once reflect6. Lord grant that Marshal Wade --------------------------- on Old long syne

realms and British Crown Dependencies. It is the de facto national anthem of the United Kingdom and some of its territories; one of the two national anthems of New Zealand (since 1977) and those of Britain's territories that have their own additional local anthem; and the royal anthem of Australia (since 1984), Canada (since 1980[1]), Jamaica, and Tuvalu, as well as Gibraltar and the Isle of Man.[2] In countries not previously part of the British Empire, the tune of "God Save the Queen" has also been used as the basis for different patriotic songs, though still generally connected with royal ceremony. The authorship of the song is unknown, and beyond its first verse, which is consistent, it has many historic and extant versions: Since its first publication, different verses have been added and taken away and, even today, different publications include various selections of verses in various orders.[3] In general only one, or sometimes two verses are sung, but on rare occasions three.[4]

The sovereign and his or her consort are saluted with the entire anthem, while other members of the royal family who are entitled to royal salute (such as the Prince of Wales) receive just the first six bars. The first six bars also form all or part of the Vice Regal Salute in some Commonwealth realms outside the UK (e.g., in Canada, governors general and lieutenant governors are at official events saluted with the first six bars of "God Save the Queen" followed by the first four and last four bars of "O Canada"), as well as the salute given to governors of British overseas territories. The words of the song, like its title, are adapted to the sex of the monarch, with "King" replacing "Queen", "he" replacing "she", and so forth, when a king reigns.

HistoryIn The Oxford Companion to Music, Percy Scholes devotes about four pages to this subject,[5] pointing out the similarities to an early plainsong melody, although the rhythm is very distinctly that of a galliard, and he gives examples of several such dance tunes that bear a striking resemblance to "God Save the King/Queen". Scholes quotes a keyboard piece by Dr. John Bull (1619) which has some similarities to the modern tune, depending on the placing of accidentals which at that time were unwritten in certain cases and left to the discretion of the player (see musica ficta). He also points to several pieces by Henry Purcell, one of which includes the opening notes of the modern tune, set to the words "God Save The King". George Frideric Handel used the tune as theme in the variation piece 'Sarabande' of his Suite No.4 in E minor, HWV 429, composed prior to 1720.[6] Nineteenth century scholars and commentators mention the widespread belief that an old Scots carol, "Remember O Thou Man" was the source of the tune.[7][8]

Send her victorious, -------------------------------- No flower of her kindredHappy and glorious, --------------------------------- No rosebud is nighLong to reign over us; ------------------------------ To reflect back her blushesGod save the Queen! ------------------------------- To give sigh for sigh (/S/Ch*)

Scatter her enemies -------------------------------- To pine on the stemScatter her enemies -------------------------------- SEMICOLON (/GC/S/abT/Ch*)/P

And make them fall; -------------------------------- Since the lovely are sleepingConfound their politics, ----------------------------- Go, sleep thou with themFrustrate their knavish tricks, ---------------------- Thus kindly I scatterOn Thee our hopes we fix, ------------------------- Thy leaves o'er the bedGod save us all! ------------------------------------- Where thy mates of the garden3. Thy choicest gifts in store ---------------------- Lie scentless and deadOn her be pleased to pour; ------------------------- So soon may I followLong may she reign; -------------------------------- When friendships decayMay she defend our laws, -------------------------- From Love's shining circleAnd ever give us cause ----------------------------- The gems drop awayTo sing with heart and voice, ---------------------- When true hearts lie witheredGod save the Queen! ------------------------------- And fond ones are flown (/P/Ch*)4. Not in this land alone, --------------------------- Oh! who would inhabit

Left blooming alone;All her lovely companionsAre faded and gone;No flower of her kindred,No rosebud is nigh,To reflect back her blushes,To give sigh for sigh.

I'll not leave thee, thou lone one!To pine on the stem;Since the lovely are sleeping,Go, sleep thou with them.Thus kindly I scatter,Thy leaves o'er the bed,Where thy mates of the gardenLie scentless and dead.

805 while at Jenkinstown Park in County Kilkenny, Ireland. Sir John Stevenson set the poem to its widely-known melody, and this was published in a collection of Moore's work called Irish Melodies (1807–34). In Ireland, it is claimed that the melody was composed by George Alexander Osborne, a composer from Limerick City.

Musical SettingsBeethoven composed a Theme and Three Variations for flute and piano, Op. 105, based on the song, late in his life. Mendelssohn composed a Fantasia in E major, Op. 15, based on the song (1827?, publ. London, 1830). Flotow uses the song in his opera "Martha", which premiered in 1847 in Vienna. It is a favorite air ("Letzte Rose") of the character Lady Harriet. The interpolation works, and indeed the song helped popularize the opera. (According to the 1954 Grove Dictionary of Music and Musicians, the opera grew from an 1844 ballet-pantomime, "Lady Henriette," for which Flotow wrote the music to Act One. Burgmuller and Deldevez wrote the rest of the music; "Lady Henriette" was produced in Paris.)

It has been arranged into a set of extremely difficult variations by Heinrich Wilhelm Ernst for the violin.

The song is mentioned by James Joyce in Ulysses.[1] It is also mentioned by Wilkie Collins in The Moonstone.

Opera singer Luisa Tetrazzini began with the song in her free public concert in the streets of San Francisco, California on Christmas Eve, 1910.[2]

As well as being a common phrase,[citation needed] the poem is alluded to in the Grateful Dead song "Black Muddy River".

Clannad released a rendition of the song on their album Crann Úll. Sarah Brightman recorded the song for her album The Trees They Grow So High. It was made popular in the twenty-first century in a recording by Charlotte Church and the Irish Tenors.

It is sung in the musical group Celtic Woman by Méav Ní Mhaolchatha and Hayley Westenra. Chloë Agnew's solo version is recorded on her self-titled album. In the Celtic Woman: A New Journey tours, she sang duets with Ní Mhaolchatha, Westenra, and the vocalist-guitarist of the same group, Lynn Hilary. Agnew and Hilary are performing the same version in the Isle Of Hope tour. Ní Mhaolchatha's solo version is included in her Celtic Journey album.

In the 1941 film Here Comes Mr. Jordan it is the character Joe Pendelton’s inability to play “The Last Rose of Summer” on his saxophone anything other than badly which allows him to prove that he is alive in another man’s body; all the other characters think he is the dead man from whom he got the body, but when he plays the sax for his old boxing manager, he uses the same wrong note in the melody as he always did, and which thus confirms his story of coming back from the after-life. d into a set of extremely difficult variations by Heinrich Wilhelm Ernst for the violin.~ ~ ~

Happy and glorious, --------------------------------- "Land of Song!" said the warrior bard,Long to reign over us; ------------------------------ "Tho' all the world betray thee,God save the Queen! ---------------------- One sword, at least, thy rights shall guard, (T-C2)/Ch

3. Thy choicest gifts in store ---------------------- Thy songs were made for the pure and free

On her be pleased to pour; ------------------------- They shall never sound in slavery!"On her be pleased to pour; ------------------------- EXCLAMATION MARK (T-C2)

Long may she reign; -------------------------------- The minstrel boy to the war is gone,

May she defend our laws, -------------------------- In the ranks of death ye may find him;May she defend our laws, -------------------------- SEMICOLON (T-C2)

And ever give us cause ----------------------------- His father's sword he hath girded on,

To sing with heart and voice, ---------------------- With his wild harp slung along behind him;To sing with heart and voice, ---------------------- SEMICOLON (T-C2)

God save the Queen! ---------------- Land of Song, the lays of the warrior bard, (T-/GC/S/abT)/Ch4. Not in this land alone, --------------------------- May some day sound for thee,But be God's mercies known, ---------------------- But his harp belongs to the brave and freeFrom shore to shore! ------------------------------ And shall never sound in slavery!"

Lord make the nations see, ----------------------- The Minstrel Boy will return we prayThat men should brothers be, -------------------- When we hear the news we all will cheer it,And form one family, ------------------------------ The minstrel boy will return one day,The wide world over. ------------------------------ Torn perhaps in body, not in spirit.5. From every latent foe, ------------------------- Then may he play on his harp in peace,From the assassins blow, ------------------------- In a world such as heaven intended,God save the Queen! -------------------------- For all the bitterness of man must cease, (P-T)/ChO'er her thine arm extend, ------------------------ And ev'ry battle must be ended.

The minstrel boy to the war is gone,In the ranks of death ye will find him;His father's sword he hath girded on,And his wild harp slung behind him;"Land of Song!" said the warrior bard,"Tho' all the world betray thee,One sword, at least, thy rights shall guard,One faithful harp shall praise thee!"

The Minstrel fell! But the foeman's chainCould not bring his proud soul under;The harp he lov'd ne'er spoke again,For he tore its chords asunder;And said "No chains shall sully thee,Thou soul of love and bravery!Thy songs were made for the pure and freeThey shall never sound in slavery!"

A concentrated, single verse version exists:

The minstrel boy to the war is gone,In the ranks of death ye may find him;His father's sword he hath girded on,With his wild harp slung along behind him;Land of Song, the lays of the warrior bard,May some day sound for thee,But his harp belongs to the brave and freeAnd shall never sound in slavery!"

During the American Civil War a third verse was written by an unknown author, and is sometimes included in renditions of the song:

The Minstrel Boy will return we prayWhen we hear the news we all will cheer it,The minstrel boy will return one day,Torn perhaps in body, not in spirit.Then may he play on his harp in peace,In a world such as heaven intended,For all the bitterness of man must cease,And ev'ry battle must be ended.

who set it to the melody of The Moreen, an old Irish air. It is widely believed that Moore composed the song in remembrance of a number of his friends, whom he met while studying at Trinity College, Dublin and who had participated in (and were killed during) the Irish Rebellion of 1798.

The song gained widespread popularity and became a favourite of many Irishmen who fought during the United States Civil War and gained even more popularity after World War I. The song is notably associated with organizations that historically had a heavy representation of Irish-Americans, in particular the police and fire departments of New York, Boston and Chicago and those of various other major US metropolitan areas, even after those organizations have ceased to have a substantial over-representation of personnel of Irish ancestry. The melody is frequently played at funerals of members and/or officers of such organizations who have died or been killed in service, typically on bagpipes. Unsurprisingly, given its lyrics, it is also associated with the Irish Army and with traditionally Irish regiments in the British, United States and other armies.

LyricsThe original lyrics are as follows:

The minstrel boy to the war is gone,In the ranks of death you'll find him;His father's sword he has girded on,And his wild harp slung behind him;"Land of Song!" said the warrior bard,"Though all the world betrays thee,One sword, at least, thy rights shall guard,One faithful harp shall praise thee!"

The Minstrel fell! But the foeman's chainCould not bring his proud soul under;The harp he loved ne'er spoke again,For he tore its chords asunder;And said "No chains shall sully thee,Thou soul of love and bravery!Thy songs were made for the pure and freeThey shall never sound in slavery!"

A concentrated, single verse version exists:

The minstrel boy to the war is gone,In the ranks of death ye may find him;His father's sword he hath girded on,With his wild harp slung along behind him;Land of Song, the lays of the warrior bard,May some day sound for thee,But his harp belongs to the brave and freeAnd shall never sound in slavery!"

During the American Civil War a third verse was written by an unknown author, and is sometimes included in renditions of the song:

The Minstrel Boy will return we prayWhen we hear the news we all will cheer it,The minstrel boy will return one day,Torn perhaps in body, not in spirit.Then may he play on his harp in peace,In a world such as heaven intended,For all the bitterness of man must cease,And ev'ry battle must be ended.

Should Old Acquaintance be forgot ------------------ Are you going to Scarborough Fair? Should Old Acquaintance be forgot ------------------ QUESTION MARK (/P*)

and never thought upon ------------------------------ Parsley, sage, rosemary and thyme, The flames of Love extinguished --------------------- Remember me to one who lives there, and fully past and gone ------------------------------- For once she was a true lover of mine.Is thy sweet Heart now grown so cold --------------- Tell her to make me a cambric shirt,

That thou canst never once reflect ------------------- Without a seam or needlework,on Old long syne --------------------------------- Then she shall be a true lover of mine. (/T/Ch*)On Old long syne my Jo ------------------------------ Tell her to wash it in yonder well,

in Old long syne --------------------------------------- Parsley, sage, rosemary, and thyme;in Old long syne --------------------------------------- SEMICOLON (/T*)

That thou canst never once reflect ------------------- Where never spring water or rain ever fell,on Old long syne --------------------------------- Ans she shall be a true lover of mine. (/S/Ch*)My Heart is ravisht with delight ---------------------- Tell her to dry it on yonder thorn,

when thee I think upon ------------------------------- Parsley, sage, rosemary, and thyme;when thee I think upon ------------------------------- SEMICOLON (/S*)

All Grief and Sorrow takes the flight ----------------- Which never bore blossom since Adam was born,and speedily is gone ---------------------------------- Then she shall be a true lover of mine.The bright resemblance of thy Face ------------------ Now he has asked me questions three,

That Force nor Fate can me displease ----------------- I hope he'll answer as many for mefor Old long syne --------------------------------------- Before he shall be a true lover of mine.On Old long syne my Jo -------------------------------- Tell him to buy me an acre of land,

in Old long syne --------------------------- Parsley, sage, rosemary, and thyme; (/GC/S/abT/Ch*)in Old long syne --------------------------------------- SEMICOLON (/GC/S/abT*)

That thou canst never once reflect ------------------- Betwixt the salt water and the sea sand,on Old long syne -------------------------------------- Then he shall be a true lover of mine.Since thoughts of thee doth banish grief ------------ Tell him to plough it with a ram's horn,

will not thy presence yield relief --------------------- And sow it all over with one pepper corn,to this sad Heart of mine ----------------------------- And he shall be a true lover of mine.Why doth thy presence me defeat ------------------- Tell him to sheer't with a sickle of leather,

Especially when I reflect ------------------------------ And bind it up with a peacock feather.on Old long syne -------------------------------------- And he shall be a true lover of mine.On Old long syne my Jo ------------------------------ Tell him to thrash it on yonder wall,in Old long syne --------------------------------------- Parsley, sage, rosemary, and thyme,That thou canst never once reflect ------------------ And never let one corn of it fall,on Old long syne --------------------------- Then he shall be a true lover of mine. (/GC/S/abT/Ch*)several -------------------------------------- When he has done and finished his work. (/T/Ch*)further ------------------------------------------------- Parsley, sage, rosemary, and thyme:"S T A N" ---------------------------------------------- Oh, tell him to come and he'll have his shirt,"Z A S" ------------------------------------------------ And he shall be a true lover of mine.

Alternate refrainsThe oldest versions of "The Elfin Knight" (circa 1650) contain the refrain "my plaid away, my plaid away, the wind shall not blow my plaid away". Slightly younger versions often contain one of a group of related refrains:• Sober and grave grows merry in time• Every rose grows merry with time• There's never a rose grows fairer with timeThese are usually paired with "Once (s)he was a true love of mine" or some variant. "Parsley, sage, rosemary, and thyme" may simply be an alternate rhyming refrain to the original.

who instructs the listener to tell his former love to perform for him a series of impossible tasks, such as making him a shirt without a seam and then washing it in a dry well, adding that if she completes these tasks he will take her back. Often the song is sung as a duet, with the woman then giving her lover a series of equally impossible tasks, promising to give him his seamless shirt once he has finished.

As the versions of the ballad known under the title "Scarborough Fair" are usually limited to the exchange of these impossible tasks, many suggestions concerning the plot have been proposed, including the hypothesis that it is about the Great Plague of the late Middle Ages. The lyrics of "Scarborough Fair" appear to have something in common with an obscure Scottish ballad, The Elfin Knight (Child Ballad #2),[1] which has been traced at least as far back as 1670 and may well be earlier. In this ballad, an elf threatens to abduct a young woman to be his lover unless she can perform an impossible task ("For thou must shape a sark to me / Without any cut or heme, quoth he"); she responds with a list of tasks that he must first perform ("I have an aiker of good ley-land / Which lyeth low by yon sea-strand").

The melody is very typical of the middle English period.

As the song spread, it was adapted, modified, and rewritten to the point that dozens of versions existed by the end of the 18th century, although only a few are typically sung nowadays. The references to the traditional English fair, "Scarborough Fair" and the refrain "parsley, sage, rosemary, and thyme" date to 19th century versions, and the refrain may have been borrowed from the ballad Riddles Wisely Expounded, (Child Ballad #1), which has a similar plot. A number of older versions refer to locations other than Scarborough Fair, including Wittingham Fair, Cape Ann, "twixt Berwik and Lyne", etc. Many versions do not mention a place-name, and are often generically titled ("The Lovers' Tasks", "My Father Gave Me an Acre of Land", etc.).

LyricsAs a popular and widely-distributed song, there are many versions of the lyrics. A version published in 1889[2] is typical of modern versions, aside from the place-name:

Are you going to Scarborough Fair?Parsley, sage, rosemary, and thyme;Remember me to one who lives there,For once she was a true lover of mine.Tell her to make me a cambric shirt,Parsley, sage, rosemary, and thyme;Without a seam or needlework,Then she shall be a true lover of mine.

Are you going to Scarborough Fair? ----------------------- By yon bonnie banks and by yon bonnie braesParsley, sage, rosemary, and thyme; --------------------- Where the sun shines bright on Loch Lomond

Remember me to one who lives there, ------------------- Where me and my true love will ne-er meet againRemember me to one who lives there, -------- Where me and my true love were ever lak/wont to gae (/GC/S/abT*)

For once she was a true lover of mine. ------------------- On the bonnie, bonnie banks o’ Loch Lomon'.

Tell her to make me a cambric shirt, ----------- O ye’ll tak’ the high road, and I'll tak' the low road (/T*)Tell her to make me a cambric shirt, ---------------------- Chorus (/T/Ch)

Without a seam or needlework, --------------------------- For me and my true love will ne-er meet againWithout a seam or needlework, --------------------------- Chorus (/T/Ch)

Then she shall be a true lover of mine. ------------------- On the bonnie, bonnie banks o’ Loch Lomon'.Then she shall be a true lover of mine. ------------------- Chorus (/T/Ch)

Tell her to wash it in yonder well, ------------------- ‘Twas there that we parted in yon shady glen (/C2*)Parsley, sage, rosemary, and thyme; --------------------- On the steep, steep sides o’ Ben Lomon'Where never spring water or rain ever fell, --------------- Where in purple hue, the hielan hills we viewAns she shall be a true lover of mine. --------------------- And the moon comin’ out in the gloamin’.

Tell her to dry it on yonder thorn, ------------------------- O ye’ll tak’ the high road, and I'll tak' the low roadTell her to dry it on yonder thorn, ------------------------- Chorus (/C2/Ch)

Which never bore blossom since Adam was born, -------- For me and my true love will ne-er meet againWhich never bore blossom since Adam was born, -------- Chorus (/GC/S/abT/Ch)

Then she shall be a true lover of mine. ------------------- On the bonnie, bonnie banks o’ Loch Lomon'.Then she shall be a true lover of mine. ------------------- Chorus (/GC/S/abT/Ch)

Now he has asked me questions three, -------------- The wee birdies sing and the wild flowers spring (/C1*)Parsley, sage, rosemary, and thyme; --------------------- And in sunshine the waters are sleepingI hope he'll answer as many for me ------------------ But the broken heart, it kens nae second spring again

Before he shall be a true lover of mine. ------------------ Tho’ the waeful may cease frae their greetin'.Before he shall be a true lover of mine. ---------------- Tho' the world knows not how we are grieving (/C1/Ch)

Tell him to buy me an acre of land, --------------------- O ye’ll tak’ the high road, and I'll tak' the low roadTell him to buy me an acre of land, ------------------------ Chorus (/C1/Ch)

Betwixt the salt water and the sea sand, --------------- For me and my true love will ne-er meet againBetwixt the salt water and the sea sand, ----------------- Chorus (/C1/Ch)

Then he shall be a true lover of mine. ------------------ On the bonnie, bonnie banks o’ Loch Lomon'.Then he shall be a true lover of mine. -------------------- Chorus (/C1/Ch)

http://www.metrolyrics.com/loch-lomond-lyrics-the-corries.htmlTell him to plough it with a ram's horn, ------------------- As dauntless in battle (/mGC/abE/Ch)Parsley, sage, rosemary, and thyme; --------------------- as tender in loveAnd sow it all over with one pepper corn, ---------------- He'd yield ne'erAnd he shall be a true lover of mine. --------------------- a foor toe the foemanTell him to sheer't with a sickle of leather, --------------- But never again fraeParsley, sage, rosemary, and thyme; -------------------- the field o' the slain (/mGC/abR/Ch)And bind it up with a peacock feather. ------------------- Tae his MoiraAnd he shall be a true lover of mine. -------------------- will he come by Loch LomondTell him to thrash it on yonder wall, --------------------- The thistle may bloomParsley, sage, rosemary, and thyme, -------------------- the King hae his ain (/mGC/abT/Ch)And never let one corn of it fall, ------------------------- And fond loversThen he shall be a true lover of mine. ------------------- may meet in the gloamin'When he has done and finished his work. --------------- And me and my true loveParsley, sage, rosemary, and thyme: -------------------- will yet meet again (/GC/P/abT/Ch)Oh, tell him to come and he'll have his shirt, ----------- Far above the bonnieAnd he shall be a true lover of mine. -------------------- banks of Loch Lomond

Chorus: O ye’ll tak’ the high road, and I'll tak' the low road And I’ll be in Scotland afore ye For me and my true love will ne-er meet again On the bonnie, bonnie banks o’ Loch Lomon'.

‘Twas there that we parted in yon shady glen On the steep, steep sides o’ Ben Lomon' Where in purple hue, the hielan hills we view And the moon comin’ out in the gloamin’.

Chorus O ye’ll tak’ the high road, and I'll tak' the low road And I’ll be in Scotland afore ye For me and my true love will ne-er meet again On the bonnie, bonnie banks o’ Loch Lomon'.

The wee birdies sing and the wild flowers spring And in sunshine the waters are sleeping But the broken heart, it kens nae second spring again Tho’ the waeful may cease frae their greetin'. (alternate: Tho' the world knows not how we are grieving)

ChorusO ye’ll tak’ the high road, and I'll tak' the low road And I’ll be in Scotland afore ye For me and my true love will ne-er meet again On the bonnie, bonnie banks o’ Loch Lomon'.

Loch Lomond is a large Scottish loch located between the traditional counties of Dunbartonshire and Stirlingshire. The Bonnie Banks o' Loch Lomond is often the final piece of music played during an evening of revelry (a disco or dinner, etc.) in Scotland, a phenomenon not seen in other parts of the United Kingdom.

OriginsAndrew LangAbout 1876, the Scottish poet and folklorist Andrew Lang wrote a poem based on the song titled "The Bonnie Banks o' Loch Lomond". The title sometimes has the date "1746" appended[2]--the year of the defeat of Bonnie Prince Charlie's rebellion and the hanging of some of his captured supporters. Lang's poem begins: